Oil paints on canvas, original
The artist drew inspiration from 2 memorial poles at the Grand Hall at Museum of Anthropology Vancouver. The laughing characters is the portral of 2 totem poles falling down with laughter, as a play on
what the colonizers tried to do to native people in BC, by outlawing the potlatch, whereby native trade and honor could not happen anymore. But the Kwaguilth poeple went underground with potlatching and became a secret society. In this painting the artist depicts the humour of it all. She shows them on the grass with the city in background
April White early in her career, she honed her painting skill and refined her abilities while practicing geology, having graduated from the University of British Columbia.
When you think about it, being a geologist in the vast remoteness of Canada’s West is a good experience for any artist. Combine this wilderness experience with a heritage rich in Native Americans’ culture, art, sculpture, and music and through her father, a direct descendant of the world-renowned Haida artist, Charles Edenshaw, of the Eagle Clan.
She gives definition to Native American Northwest Coast art as she captures its landscapes and its indigenous peoples.
April realized, after a few years in the bush as a geologist, that she was inexplicably possessed by painting—particularly watercolors, for their portability. After graduation, she finally had time to realize that she had always been drawn to it.
It took a while until April fully recognized how strong its pull might be. In the eighties, she made the decision to put down her rock pick and hand lens, and pick up her paintbrushes for good.
Since then her career has taken her all over North America, particularly to Indian Markets in Santa Fe, Portland, Scottsdale, and Phoenix.